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Following the labels 150th release, Will's teamed up with Paul Woolford to rework the original. A good friend who's spent the past two decades redefining a sound to move dancefloors. Paul's signature piano chords and reworking of Gill's vocal creates the type of big moment he's well known for. A watershed moment for the label. Your Time Is Up.

Gondwana Records are delighted to announce parts 3 and 4 of the '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

The return of Portico Quartet was one of the musical stories of 2017 and Endless was one of the tunes of the year. It's one of the band's biggest tunes and on the flip here is the ethereal groover Undercurrent.

Side A Endless A catchy earworm, with a hypnotic groove that announced the band's return to their signature sound and marked their first new music in five years

Side B Undercurrentcut at the same session, and making it's vinyl debut after previously only being available as a Japanese bonus track.

Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.

Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.

Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

The release consists of dense floor slammers from Bionoid, modular synths enthusiasts based in Saint-Petersburg, Russia. Every track is recorded at once during a jam session on analogue setup. They do not bear any signs of 'rave' or 'trance', but the cyclic and raw sound with minimalistic groove typical for Detroit techno.

All these pressed onto a thick 180gm crystal clear tasty piece.

Spandau Ballet signed their first recording contract on bassist Martin Kemp’s 18th birthday. As soon as they had finished, they headed straight to Utopia Studios in Primrose Hill to cut their debut single ‘To Cut A Long Story Short’. Within a month the single had been released and two weeks later the band were on Top Of The Pops. The song is now acknowledged as the very first New Romantic single, a sound and movement that changed the world.

27th November sees a reissue of the 12” single in its original die cut sleeve on 180g vinyl featuring the ground breaking extended and dub mixes of the track by the visionary producer Richard James Burgess, the practice of which was unheard of at the time. The impact of the 12” was felt on the dance floors of the world, the track was an instant club hit ushering in a new sound for a new decade.

New full length album by France’s most singular contemporary composer. Reflecting on ancient culture’s use and reverance for emblematic monuments which most often represent myths and stories, the album’s narrative has been infused with such symbolic and depicts an envisioned mythology, unfolding through it’s 10 aural pieces. Franck Vigroux‘s music is unique and comprised of tectonic tension, pulsating rhythms and abrasive analog textures like few can produce. Applying his own calculated personal signature in his sonic explorations his distinctiveness comes not only by his unique approach to sound but also by his incorporation of new media practices and performing arts into his A/V work.
Mastering by Denis Blackham.

Double Vinyl Edition of 500 copies in matt laminated Gatefold Sleeve.
10 Tracks. Running Time 55:10.

Big Crown Records is proud to present Ekundayo, Liam Bailey’s debut record on the label. This album is a long time in the making, and after listening, clearly worth the wait. It didn’t take a long time to record, but it did take years for all the stars to line up.

Bailey, born and raised in Nottingham, England, the son of an English mother and Jamaican father got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today.
Fast-forward to 2005, Liam is in London and doing the whatever-gig-you-can-get musician hustle with hopes of landing a record deal. And it was through this time that Liam first teamed up with Leon Michels, musician / producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still get spins at reggae spots around the globe. That trip helped kick off what was to follow next for Liam: a slew of record releases, label deals, and working with some wildly-notable mainstream producers. Even a just-famous Amy Winehouse heard one of Liam's apartment-made, lo-fi recordings through a friend and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. She signed him to her label shortly after.

But, as the story can go with major labels, they already had an idea of the Liam they wanted to make, promote, and push. With the typical pay-day enticement, Liam did his best to fit into whatever shape they put him to. "'Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't."

While Liam’s career went through a bunch of record industry twists and turns he and Michels stayed in touch and would regularly connect and collaborate. Finally, in 2019, the time was right to do a full-length album together. And this time, it would be free of any restricting major label presumptions and opinions. "This is the record we always wanted to make," says Michels. Set to release in November 2020, the album is called Ekundayo. And the word's meaning may be all you need to know to get to the essence of this project. It means "sorrow becomes joy" in Yoruba, a language spoken mostly in Western Africa. On the surface, Ekundayo is a weighty Reggae record, full of new and old textured riddims. But listen more in-depth, and you'll find subject matter that's more recognizable from a modern-day R&B record. An example of the former is the first single off the album. Sung to the most beautiful woman at the nightspot, "Champion" is a joyous anthem powered by a silly-thick Juno-bass throb and 808-proof drums. In short, "Champion" is dancehall-ready. But then there's a song like "Don't Blame NY." Moody and sparse with a somber drive, you might have to resist the urge to compare it to a Frank Ocean-ish type vibe. Liam's voice is in a different but fitting element here, showing stripped-back emotion and soulful restraint. Anyone who has lived and tried to thrive in New York won't have a hard time relating to the lyrics but they may join the masses who blame the city, while Liam points the finger at himself and sings praises to The Big Apple.

Credit to Leon's hand, elements of Jamaican production are everywhere, peppered throughout the record. Like the pitch-perfect organ stabs that push through the authentically positive "White Light," or the muted, percussive guitar strums that chug along in the back of "Fight." In the same vein of any fantastic singer/songwriter album, Ekundayo is a reflection of who Liam Bailey is, taking on topics and approaches he never would think of just a few years ago. Some evidence: "Ugly Truth" is about reconnecting with his biological father, a subject he once thought would be too personal to address. The journey from conforming to major labels to this latest record has been a long one for Liam, and a bit of a struggle. But struggle may be the only way we truly grow and evolve. With a new clarity of purpose, sound, and life, Liam has found joy out of those struggles. And it's called Ekundayo.

"Cantanti dall’est" is the third EP by producer Francesco
Panettone. He delivers 3 diverse tracks, which all have in
common, that they’re partly consisting of vocal-samples
from eastern european jazz/funk tracks of the soviet era.
Hence the sightly ironicle italien title, in english: "Singers
From The East". The ¦rst track is more like a jazzy house
thing, the second one disco-ish and the third has some more
deep vibes to it. To conclude the EP, Francesco Panettone
has invited his good friends Twerking Class Heroes to make
a own track with some of the samples from the project.

Beats on Boat vol. 1 is a double LP with 6 nationalities, 8 artists & 16 Tracks pressed on 180g vinyl and limited to 400 copies w/ FloFilz, Made in M, Melodiesinfonie, Juan RIOS, Hazy Year, Lunchbag (aka Theo Spazzatura), illiterate (aka Les Geddit) & iamalex.

The compilation accompanies the YouTube series which can be watched on our website: ear-sight com

All the artists involved have one track on each vinyl, celebrating their musical diversity. The first vinyl will be the sound you know and love of theirs. The second- will be the world premiere for the majority of the Musicians featured- taking a step out of their comfort zone into house, disco or their individual interpretations of those genres.

We set sail last summer to unite some of the best producers we know and came back with hours of dope sets and a 16 track double vinyl containing a lot of firsts - not only for us but also for most artists aboard- the C & D side are full of world premieres!

This vinyl is the blueprint of what’s to come here at ear-sight in the next couple of years, staying true to our lo-fi roots but also reaching out to new horizons and we feel so blessed to have taken this first step with these talented cats.

Be not afraid! Whether you’re simply sightseeing, enjoying temporary flights of fancy or considering a more permanent relocation, the all-new Spirit World Field Guide offers twenty-one insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe. The narrator’s vast expertise of multiple global entry points and various modes of interdimensional transport informs a rich tapestry of tips, tricks and tools to unfailingly aid in your ultimate survival. If you are among the countless individuals who find themselves feeling both dead and alive at the same time, the information contained within may serve as an invaluable asset to your journey. Godspeed and good luck."

This 3LP compilation documents B.B.King's breakthrough years, when, initially signed to the Bihari Brothers' RPM label, he unleashed a torrent of superb recordings that would establish him as the world's most famous blues singer-guitarist. He made scores of remarkable recordings during his career - but the ones on this compilation represent that marvelous moment in time when Riley King and Lucille combined to make their indelible mark on the history of the blues.

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islan (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure. "Showdown" is released on vinyl LP by Mocambo Records and on CD and digital incarnations by Légère Recordings.

About the Mighty Mocambos:

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as Afrika Bambaataa, Lee Fields or Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years. Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily. Whoever witnessed a concert will tell you about the musicality, passion, energy, humour and joy that the band loves to bring to the people. Background What started out years ago as a take on "deep funk" and its associated vinyl culture has completely grown into its own oeuvre d'art. With the launch of their production studio and record label in 2006, things started to gain momentum. Apart from self-releasing the group's own recordings, Mocambo Records became a household name by putting out highly collectable vinyl 45s by today's best funk outfits as well as unearthing lost library funk treasures. The Mighty Mocambos however did not restrict themselves solely to their own label. Their interpretation of the Furious Five classic "The Message", released under a pseudonym on an obscure phantasy label without proper distribution, got picked up and remixed by Grammy- nominated producer legend Kenny Dope (Masters at Work, Bucketheads). Their first single with UK funk singer Gizelle Smith, "Working Woman", became an overnight smash and a prime-time club favourite of funk & soul DJs worldwide. Initially released on the Finnish private press imprint Old Capital, it got the remix treatment by Kenny Dope and a re-release on Kay Dee Records as well. After earning their credits through vinyl 45s, the band stepped up their game with the full- length "This Is Gizelle Smith & the Mighty Mocambos" in 2009. The album received rave reviews, got lots of airplay - and sold a bunch of physical copies too. Its success led to an extensive tour throughout Europe with club dates from Marseille to Oslo, performances at massive festivals such as the Printemps de Bourges in France and live radio appearances at respected FMs such as the BBC and Radio Nova. With the following album "The Future Is Here" (2011), the band stepped further into the spotlight and explored new sounds with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that had long gained international reputation. The album was toured extensively, including a legendary performance with Afrika Bambaataa at Hamburg's Reeperbahn Festival (covered by ARTE TV), support gigs for Lee Fields and headline shows at renowned venues such as Amsterdam's Paradiso, Islington Assembly Hall in London, Paris' Bellevilloise, Tempo Club in Madrid, or at home at Hamburg's Mojo Club. After producing the critically acclaimed debut album "En Route" (2013) of French soul singer Caroline Lacaze, where their adapted their sound to deliver a stunning mix of French Beat, Soul & Psychedelic Rock, the band went on to record a full length under their moniker Bacao Rhythm & Steel Band. Their interpretation of 50 Cent's P.IM.P. had long become a cult classic and was often mistaken for the original sample. The group's approach in stretching the boundaries of funk by adding Caribbean steel pans caught the interest of Brooklyn's finest label Truth & Soul who signed the band for the album "55", an explosive mix of funk and hip hop cover versions as well as original compositions that showcase the band's singularity in today's funk circuit. The Mighty Mocambos' recent album "Showdown" (2015) sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hiphop pioneer Afrika Bambaataa.

Take Five is probably one of the jazz titles that is best-known to a mass audience. It was composed by Paul Desmond and it appeared on the album Time Out by the Dave Brubeck Quartet.

Pianist Brubeck had studied veterinary medicine before turning to music, and in 1949 he formed an octet, and then in 1951 his famous quartet with Paul Desmond playing saxophone. He signed with Columbia in 1954 and built up an excellent reputation, but in 1959 he became famous around the globe thanks to two titles, Take Five and Blue Rondo à la Turk.

In France, the singer Claude Nougaro made the quartet’s work popular when he wrote the French lyrics for versions of Three to get ready (adapted as Le jazz et la Java) and Blue Rondo a la Turk (with the title A bout de souffle). Dave Brubeck was “quiet man”, far from the legends and excess often linked with jazz: he would spend six decades in a world where life, and jazz, was “cool.”

After being unavailable for years this is a very Limited Edition repress on CLOCKWORK ORANGE vinyl of theGreater Manchester Punk Vol 2: Now We Are Heroes 1978-82 compilation.
More rare and previously unreleased punk / post punk gems from the cellars of Greater Manchester.
This compilation delves into the archives and focuses on the lesser well known bands of the time and shows the various styles of punk recorded between 1978-82.
Some were recorded in studios and some recorded on a portable four track. None of these bands reached the status of bands like The Buzzcocks,
Joy Division and The Fall but were an integral part of the Manchester music scene of this period.
“It was a great time to be in a band in Manchester and something of that joy, as well as the obligatory angst and artiness, comes through here. Relive then those heady days-days infused with the DIY ethic and the allure of limitless possibilities”. (Mark Radcliffe)

Having established himself in the UK's contemporary Jazz funk scene with a slew of high calibre releases, Dr Rubberfunk holds a reputation for quality productions surgically delivered by an accomplished multi-instrumentalist and producer.

After being hounded to join the roster in his early career, he signed to Jalapeno Records in 2008, and the years since have seen him release multiple albums, produce label artists, such as Izo FitzRoy, and be regularly called upon to bring his flair to remixes across the roster.

In 2018 he stepped back into the limelight to release a series of limited 7" singles, winning praise from fans throughout the 45s scene. This wide-ranging support led to the release of his LP 'My Life at 45' in early 2020, garnering critical acclaim from the likes of Bandcamp, BBC 6Music, Fatboy Slim and Blues & Soul Magazine, to name a few.

Now, and not a moment too soon, Dr Rubberfunk brings us a pair of outstanding beat treats from his back catalogue, pressed to 7" vinyl for the very first time. Featuring 2 tracks originally written for the 2006 Red Bull Beat Battle at the behest of Rocksteady Crew legend Mr. Wiggles, 'Come Back Breaker' & 'Beats Working' have become firm favourites with breaking crews worldwide.

Drawing on his continued influences from the sample-based collages of early cut and paste pioneers, 'Come Back Breaker' and 'Beats Working' suitably highlight the lessons learnt from that era. Coupled with the good doctor's signature drums and rolling basslines, spoken words snippets and needle-drop samples get the party started and carry it on well past bedtime.

Following the well received inclusion of Bonus Beats on all of the 'My Life At 45' series 45s, and upholding the noble drum-a-pella tradition, Dr Rubberfunk went back to his original session recordings to bring you 'Drums Working' - grab yourself two copies and keep the beats working for days!

CoOp Presents an all-new double-album compilation entitled 'Plug One'. It features a plethora of global talent from in & around the world of bruk and beyond - some already well-established in the field, some very much on the come-up and some brand new artists - this compilation is an acknowledgment of a continually evolving sound from the label formed by IG Culture & Alex Phountzi a few years ago. 'Plug One' affirms this electric movement, with a deeply fluid current running throughout, with tracks ranging from the cosmic psych jazz of LCSM, to the classic UKG tweaks of Groove Chronicles, to the thought-provoking vibes of Reginald Omas Mamaode IV, to a veritable who's who of 2020 bruk talent including Xtra Brux, Sivey, EVM128, Cengiz, Wonky Logic & many more.

From its beginnings as a classic club night and label in the early 2000's, CoOp always carried an undefinable and potent creative energy. A sense of freedom and uninhibited exploration was positioned at the core of CoOp's sprawling community and consciousness, communicated via movement and sound. From this seed and throughout the years that followed, this same energy permeated the worldwide underground music ecosystem. As CoOp's legacy continued to influence new generations of music makers far and wide. The syncopated rhythms, soulful keys and infectious grooves synonymous with the broken beat sound, now known simply as Bruk, became entwined with new concepts and progressions, leading to new movements carrying on the essence of the bruk energy.

IG Culture and Alex Phountzi took the helm of their CoOp Presents label in 2018, with the vision of championing these new waves of emerging artists, continuing the all-important exchange of energy at the heart of the original CoOp movement, but also giving room for the music to be pushed into new and uncharted territories. With burgeoning producers from around the globe being drawn to the explorative and expressive nature of the project, an incubator was created, providing a space and platform for these ideals to take on new shapes and sounds. Just as every generation must rewrite its own history books, CoOp Presents was born from a combination of influences, ideas and personalities, and in turn is now encouraging the next generation to do some re-writing of its own.

'Plug One' will be released on vinyl & digital on CoOp Presents in November 2020.

Simon Popp and Sebastian Wolfgruber aka Fazer Drums team up with Tunisian producer Azu Tiwaline for the second part of their hybrid Sound Measures series.
On the A side, the Munich-based duo's pure and raw drumming gets more melodic than on the first edition. With interwoven, polyrhythmic grooves they explore the concept of counterpoint, drawing inspiration from Gamelan, Afro-Cuban and Swing.
That's material made in heaven for Azu Tiwaline, who made sizeable waves this year with her Magnetic Service EP on Bristol's Livity Sound.
In her rework, she kept the focus on the drums, boiling down and rearranging the different parts into a 7-minute beast of a tune. Layers of her signature dubbed-out electronics add to the mystic aura, while maintaining the dynamics and musicality of the recordings.

This 10th anniversary release of Spaven's 5ive on vinyl for the first time celebrates one of the UK's most phenomenally talented drummers. With roots in the UK club and hip-hop scenes, Richard Spaven brings a fresh approach to the instrument that's at once modern and traditional.

Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Spaven's drumming landed him gigs with vastly varied artists such as Guru, Flying Lotus, The Cinematic Orchestra and jazz/hip-hop vocalist Jose James. His brilliance is evident beyond his world-class performance abilities as he's equally impressive in production and compositional territories.

Spaven's signature drum sound often sees him combine high-pitched, crisp snares, round jazzy toms and small punchy bass drums. His cymbal choices are a sonic contrast of dry, lower-pitched hi-hats, rides and crashes.

Altogether, the drummer's tone could be described as a nod to the past while keeping an ear to the future.

Spaven's 5ive is released as a limited clear vinyl edition for Record Store Day 2020.

Following his debut contribution to the label's catalogue this year via the Midnight Shift x Voitax ,"Mothership" compilation, (a contribution saw the artist paired with Veronica Maximova) the Brighton based producer L/F/D/M, also known as Richard Smith, is the latest to join the catalogue on Voitax. Having pushed the boundaries of his own music, Smith managed to release an impressive amount of records throughout the last years and has perpetuated his sound on cult labels such as Cititrax, Midnight Shift, Optimo Trax, Ecstatic and Clan Destine Records. The British producer now returns to Voitax with his "Mutual Autopsy" EP - a strong four-tracker that is characterised by Smith's undenably grainy lo-fi signature. The whole package is armed with heavyweight kicks, bloating basslines and crunchy, percussive patterns, that he perfectly crowns with some memorable and catchy synth lines. The former art student, as well as one half of Bronze Teeth, shows once again his ability to modulate his way into the abstract, while keeping it groovy and warm and firmly secures himself in the ranks with the techno avant-garde.

Mangabey presents "Illusion" his first EP to be released on the Parisian label Cracki Records ! Analogical house, groove, melodies, chords and improvisations specific to jazz, the whole infused with the codes of a more modern Chicago House, the 6 tracks of this record intend to leave their mark on the new school year!

Driven since childhood by a growing passion for synthesizers and other "drum machines", José Fehner quickly launched the Mangabey project in order to unite his two main influences: jazz and Afro-American music.
He thus creates his own style : an analogical house mixing groove, melodies, chords and improvisations specific to jazz, with the codes of a more modern Chicago House. To his credit, EP's signed on Toy Tonics, Apparel Wax or Boussole Records !

Das ultimative Sammel-Vinyl-Album für alle Hans Zimmer Fans! Die vier 180 gram LPs dieser audiophilen Pressung enthalten erstmals alle 29 Tracks des legendären Soundtracks "Interstellar" - der ursprünglich nur als gekürzte Version mit 16 Tracks veröffentlicht wurde. Zusätzlich ist mit "Day One Dark" eine alternative, extrem düstere Version des Soundtrack-Themas enthalten, das nicht im Film verwendet wurde. Das Gatefold enthält einen Einleger mit Liner Notes von Hans Zimmer und Regisseur Christopher Nolan. Sein erhebender, atmosphärischer Soundtrack zu Christopher Nolans Sci-Fi Abenteuer "Interstellar" brachte Hans Zimmer im Jahr 2014 eine Oscar- und Golden Globe-Nominierung ein. Zur Einordnung der Bedeutung des zum modernen Klassiker gewordenen Klangerlebnisses von "Interstellar" reicht der Blick auf Hans Zimmers eigene musikalische Biographie nicht aus. Weit mehr als eine Weiterentwicklung des Hans Zimmer Signature-Sounds, stellt die Klangverbindung einer Orgel mit elektronischen und orchestralen Elementen eine Zäsur in der Geschichte der modernen Filmmusik dar und markiert eine viel kopierte und nie erreichte nachhaltige Sound-Innovation. Soundtracknet urteilt: "Hans Zimmer has created a close to perfect musical canvas for those extremely dedicated to the audio experience" und The Telegraph ergänzt "the vast sounds of a composer set loose on his grandest ever assignment."Herausragend ist auch die Entstehungsgeschichte der Musik: Hans Zimmer komponierte die ursprüngliche Musik ohne eine Szene von dem Film gesehen zu haben einzig auf Basis eines persönlichen Textes von Nolan.

A welcome solo production from Igaxx on Japanese label LADYBUG !!
As with his contributions to the first release, we're enveloped in perfectly crafted, richly textured afrocentric deepness. With Detroit signatures, and a roots House spirit throughout, these tracks really sound timeless.

Hugo Capablanca provides a dark, psychedelic rework. Superb !!

In the mid 90's, Julee Cruise and Eric Kupper were signed to the same music publisher, Warner Chappell. Patrick Conseil, who signed both, thought it would be a good idea for them to get together and collaborate. He was correct in that assumption, and this has lead to an enduring relationship, both creatively and as friends. These two tracks were originally intended as demos, but somehow got leaked onto YouTube, with positive response. Eric thought it would be a great idea to remaster the demos, keeping the raw edge, and give them a proper release, some 20 plus years later. Julee enthusiastically agreed.

Having been influenced by the likes of Roni Size, 4 Hero, Jacob’s Optical Stairway, LTJ Bukem and DJ Die (the latter of whom Eric did a collaboration with), Kupper was experimenting with drum and bass. He could often be spotted in London clubs 'The End' and 'The Globe' checking out and enjoying the music and the vibes.

'My Blue Yonder' is one of the few tracks Kupper has ever written lyrics to. They were inspired by his then toddler daughter, Zoe. One day, Eric found his 3 year old on the floor, wrapped up in a blue blanket, looking blissful. When he asked her what she was doing, she replied 'I'm in my blue yonder'. She had heard the phrase in a song from a children's video. Eric then sat down and wrote a moody yet childlike song about a utopia, based on his daughter's likes and dislikes, her joys and her fears. A compelling blend of orchestral arrangements, frenetic beats, and Julee's unique vocal approach. Julee has often commented that it is one of her favourite tracks she has ever recorded.

This collaboration also led to 'Satisfied', with lyrics and melody written by Julee. An ethereal somewhat existential track, with jazzy chords and pulsating arpeggios, it still has Eric's vibe, within a different music style. Julee's beautifully phrased vocals and lyrics bring the track to life, giving it a clear vision.

This is the first release on Kupper's new 'Hysteria misc.' label. A label for all kinds of music, electronic to acoustic, rock to experimental, and 'misc.'...

In Julee’s words, 'Thanks Eric, for doing this. I really love what we did'.

Strut present the 4CD edition of Sun Ra's 'Egypt 1971' along with the original albums 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon' released as individual LPs, documenting Sun Ra's first trip to Egypt with his Arkestra in December 1971. In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra's first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. This release comprises recordings made by Arkestra member Thomas "Bugs" Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. The impact and significance of these few weeks upon Sun Ra can be measured by the growth and development of his output over the next few years; the immediate post-Egypt period included new studio and live recordings on the Saturn, Blue Thumb, Atlantic and Impulse labels and the 'Space Is The Place' movie. Ra also edited the three LPs of the 'Live In Egypt' series which were subsequently released on his Saturn record label and its affiliated twin, Thoth Intergalactic: 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon'. These three albums are now reissued as single LP editions in their original artwork. The 4CD set features these albums alongside previously unreleased material from the December 1971 recordings. All tracks are remastered from the original tapes and the CD set also features a 24-page booklet featuring new sleeve notes and rare photos by Hartmut Geerken and background information on the recordings by Paul Griffiths.

Strut present the 4CD edition of Sun Ra's 'Egypt 1971' along with the original albums 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon' released as individual LPs, documenting Sun Ra's first trip to Egypt with his Arkestra in December 1971. In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra's first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. This release comprises recordings made by Arkestra member Thomas "Bugs" Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. The impact and significance of these few weeks upon Sun Ra can be measured by the growth and development of his output over the next few years; the immediate post-Egypt period included new studio and live recordings on the Saturn, Blue Thumb, Atlantic and Impulse labels and the 'Space Is The Place' movie. Ra also edited the three LPs of the 'Live In Egypt' series which were subsequently released on his Saturn record label and its affiliated twin, Thoth Intergalactic: 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon'. These three albums are now reissued as single LP editions in their original artwork. The 4CD set features these albums alongside previously unreleased material from the December 1971 recordings. All tracks are remastered from the original tapes and the CD set also features a 24-page booklet featuring new sleeve notes and rare photos by Hartmut Geerken and background information on the recordings by Paul Griffiths.

Strut present the 4CD edition of Sun Ra's 'Egypt 1971' along with the original albums 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon' released as individual LPs, documenting Sun Ra's first trip to Egypt with his Arkestra in December 1971. In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra's first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. This release comprises recordings made by Arkestra member Thomas "Bugs" Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. The impact and significance of these few weeks upon Sun Ra can be measured by the growth and development of his output over the next few years; the immediate post-Egypt period included new studio and live recordings on the Saturn, Blue Thumb, Atlantic and Impulse labels and the 'Space Is The Place' movie. Ra also edited the three LPs of the 'Live In Egypt' series which were subsequently released on his Saturn record label and its affiliated twin, Thoth Intergalactic: 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon'. These three albums are now reissued as single LP editions in their original artwork. The 4CD set features these albums alongside previously unreleased material from the December 1971 recordings. All tracks are remastered from the original tapes and the CD set also features a 24-page booklet featuring new sleeve notes and rare photos by Hartmut Geerken and background information on the recordings by Paul Griffiths.

Obscure rock group Nite People was formed in 1964 in the southern English town of Poole by drummer/singer, Chris ‘Fergy’ Ferguson; later, guitarist Jimmy Shipstone joined (as Jimmy Warwick), along with organist Barry Curtis and Jimmy’s brother Francis on bass (as
Francis Gordon). Following inconsequential singles for Fontana, with bassist Scott Kirkpatrick, the group signed to Larry Page’s Page One. P.M., issued in 1970, showed heavier leanings and although originals “Funky Hoe” and “P.M.” were captivating, the album probably had too many covers, though the driving cut of The Four Tops’ “Reach Out” was certainly unique. Page also had the group record as The Banana Bunch, before the final split.

Limited 180gr orange vinyl press for RSD2020.

Fischgeist was recorded in a former water tank in Berlin-Prenzlauer Berg in August 2019. The nineteenth-century brick building consists of five layered circles, with a spiral staircase in the middle leading up to an exit to a hilltop. Inside, it’s humid and cold, the temperature always around 8–10 C°. The building’s acoustics produce a long reverberation that lasts up to 20 seconds.

‘One day between recording sessions, a man, a passerby, wanted to look inside the building. He told me that it used to be full of fish. For a second I imagined a huge round aquarium with loads of fish swimming around in circles. Then I realized that he meant dead fish were kept there, to be sold on markets during the GDR era. But the image of fish swimming in the space stayed with me.’

In conversation with the space of the water tank, Tomoko Sauvage searches beyond the limits of her self-invented ‘natural synthesizers’: porcelain and glass bowls, filled with water and amplified with hydrophones.

While she continues to develop some of the classic techniques heard on her previous album Musique Hydromantique (Shelter Press, 2017) – hydrophonic feedback (Kinetosis Study) and ‘fortune biscuits’ (porous pieces of terracotta that emit tiny singing bubbles) (Deluge) – here new elements are combined with delicate gestures to make curious noises: stroking bowls’ surfaces to imitate the voices of sea mammals (Metamorphosis), drawing dots and circles by rubbing stones against stones underwater (Exit) … The underwater amplification of quasi-inaudible sound is even more magnified in the air by the echo of the water tank. Not only tiny bubbles, but also micro-movements of the bones and veins of the hand holding the sonorous objects in the water, are intensely amplified – sounding like a tempest on the opening Deluge. Sauvage’s longtime research into hydrophonic feedback develops with her new obsession with natural harmonics and sympathetic resonance. In Flying Vessels, the percussive notes of struck bowls resonate and turn into feedback loops before decaying, fueled by electric signal gain. Kinetosis Study is a sonic etude on fluid dynamics – the flow velocity, pressure and density of manually shaped water waves directly controlling the aquatic synthesizer’s parameters.

August, when the mid-summer Ghost Festival is held, is traditionally known as the Ghost Month throughout East Asia. The spirits of the dead visit their living families, who welcome them with feasts, dancing and music. Miniature lantern-laden boats are released in rivers, to help lost ghosts find their way home.

Animated by formless matter – water, electricity, sound – Fischgeist celebrates a phantasmagoric journey, as the souls of aquatic lifeforms find their way out of the labyrinth of the water tank.

Credits
Composed, performed and mixed by Tomoko Sauvage
Recorded and produced by bohemian drips prior to ‘Speicher’ festival in Berlin, August 2019 (binaural recording with a KU-100 dummy head microphone)
Mastered by Andreas Kauffelt in Berlin
Cover drawings by Baien Mōri (1798-1851)
© Tomoko Sauvage and bohemian drips – all rights reserved

On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising ‘Black Willow’ from Loma’s self-titled debut. He said he’d had it on repeat.
At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a gruelling tour
with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd and then into the sea, while the band carried on from the stage - an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?” Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart
(and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become ‘Don’t Shy Away’. Loma writes by consensus and, though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an Ouija Board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other - and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular - a vivid work whose light touch belies
its timely themes of solitude, impermanence and finding light in deep darkness. “Stuck / beneath / a rock,” Cross begins, as if noticing her predicament for the first time. Then she adds: “I begin to see / the beauty in it.” A series of guests contributed to the absorbing soundscapes of ‘Don’t Shy Away’, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak’s Jenn Wasner and a surprisingly bass-heavy horn section.
And then there’s Brian Eno. Loma invited him to participate in the mantra-like ‘Homing’, which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band but his completed mix arrived via email late one night, without warning and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross.
“What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno - a perfect ending to an album about finding a new home inside an old one. “I am somewhere that you know,” Cross sings, above a chorus of her bandmates’ blended voices. “I am right behind your eyes.”
First LP pressing on dark green vinyl.

“Semilla” ist das Kollabo-Debütalbum von Multiinstrumentalist Pachakuti und Produzent young.vishnu. Pachakuti ist ein klassisch ausgebildeter Saxophonist und Pianist mit Hang zu Jazz und lateinamerikanischer Musik. young.vishnu ist Beatmaker, Arrangeur, Sampleologist und Gründer des Nima Composition Archive. Beide lernten sich vor 5 Jahren in Hildesheim kenn und freundeten sich auf einem gemeinsammen Raod-Trip ins Baskenland an. Pachakuti und young.vishnu gründeten eine neunköpfige Band namens Soularkestra die der Ausgangspunkt für ihr neues Projekt war. Auf “Semilla” vereint das Duo Hip-Hop, Jazz, Latin, Funk und Soul mit starken Botschaften zu Politik, Identität, Globalisierung und Neokolonialismus.

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

(Ltd.Ed)(2LP+MP3)(Golden)

"Fading" folgt der Anfang 2020 veröffentlichten remasterten Neuauflage der wegweisenden Trilogie "1 2 3" des in Berlin lebenden Künstlers und elektronischen Klangtüftlers Stefan Betke aka Pole. Grundelemente, Sprache und Vokabular der Trilogie übernimmt er für "Fading" - beispielsweise die prägenden, im Hintergund schwirrenden Knack- und Störgeräuche - und ergänzt sie um moderne Details.
So ist "Fading" ist ein facettenreiches Album, das sich für immersives Hören über Kopfhörer ebenso gut eignet wie dafür, durch eine Lautsprecheranlage laut herausgepumpt zu werden, um zu spüren, wie der Bass am Brustkorb rasselt.

Limited Edition Doppel-Aztec-Gold Vinyl im Gatefold-Cover und Spot Gloss Finish mit hochwertigem Download.
Alle Einheiten erscheinen mit Poster-Beilage. 10 Poster wurden von Stefan Betke signiert und zufällig unter allen Einheiten verteilt.

"...while I like to think that creations are a 'moment in time', this, for me, is much more than just a moment."

Truenoys 2020

"Depression is not just for those with painful traumas but it can lurk in everyone who is willing to live in truth... this album can be a cure or a helping hand...soundwise and lyrically."

Amos 2020

A/T/O/S, pronounced 'A Taste Of Struggle' is a project by Amos & Truenoys.

Introduced by a mutual friend, A/T/O/S started creating music together. Their first creation, 'A Taste Of Struggle' was quickly picked up by dubstep pioneer Mala, who signed them to his label DEEP MEDi. Their debut release received an early spin by BBC 6 Music's Mary Anne Hobbs and impressive remixes by Skream and Commodo.

Their upcoming album 'waterman', is the 3rd on DEEP MEDi, following their self-titled debut 'A/T/O/S' and the follow-up 'Outboxed'.

'waterman' once again sees A/T/O/S exploring new territories with their formula of exciting beats and powerful vocals, accompanied by Michiel De Malsche (@MIDM) on the keys as their 'secret, not so secret' member in the studio & on stage.

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live.

Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire. Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

With the album’s subtitle, Flames Are Dew Upon My Skin, Eartheater imagines being tempered to a state of perfect equilibrium, suspended between melting and freezing, where fire could streak across her body and appear as a crystalline blush. This image captures the tension at the heart of the Eartheater project, as she decides how best to distill her passion and render it cool to the touch; to find beauty in simple pleasure, while keeping one eye fixed on the peaks that loom in the horizon. The album is mixed by Kiri Stensby and mastered by Heba Kadry, featuring photography by Daniel Sannwald.

FREEDOM/FICTION REMIXES is a compilation of six experimental dance tracks featuring an international mix of well known and upcoming artists. Opening with a hybrid rhythmic statement by Berlin based multimedia artist Zoë Mc Pherson (founder of SFX-Label), to be followed by L.A.'s performance duo Pacoima Techno, who bring track 9 – Apparatus – of L Twills' recently released debut album Freedom/Fiction to the Drexciyan dancefloors of their self-proclaimed genre Casa Teka, Xiu Xiu ends side A with a disturbing but electrifyingly lynchian noise interpretation of Freedom/Fiction. Side B takes the Album's tunes to another night's sight: Automatic Subject gets a new coat by John Tejada's well known and intriguing techno-sound, Montreal based Tobias Rochman (one part of Pelada) turns M.A.S.T.E.R.S. into a techno-drum'n'bass version, whilst upcoming Berlin based producer and Dj Nomi Elektra finalizes the spectrum with an acid-house interpretation of L.A. Automatic Subject pt.2. Releasing on the 16thof October, the compilation is a limited edition of 300 12” Vinyls and can be ordered through Word&Sound. The Cover shows “Autoportrait”, a painting by Mexican artist Frieda Toranzo Jäger.






Automatic Subject pt2. Remix Nomi Elektra

The pioneering electronic composer Mort Garson (Mother Earth’s Plantasia) • takes on supernatural phenomena with lush synth grooves on The Unexplained, his only release under the name Ataraxia. Subtitled Electronic Musical Impressions of the Occult, the album explores tarot, astral projection, seances, and more with Garson’s signature Moog synthesizer serving as the listener’s tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.”

Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

After his first appearance on the „Plankton“ Compilation (BK014 July 2020) frankfurt based Dan Bay signed his first solo EP on Bunte Kuh. The „Fieser Niesel“ EP will be released on Vinyl and as a digital edition including 2 bonus tracks. Dan is also performing as a DJ or liveact with E-drum - he already released on Laut & Luise, Wayu Records, Leveldva, Finebeatz and Heimlich Musik. The EP also introduces the iconic female DJane Krystyna - the former Robert Johnson resident is giving her debut as a producer.
The first track „Reise ins Universum“ is a dreamy journey thru his universe of minimalistic music - endless, relaxing and trippy. The title track „Fieser Niesel“ is way more rolling with dark basslines and short bleeps - an overall great dancefloor workout. Next is AVEM´s Remix of „Reise ins Universum“ - Boris (who already released on Underyourskin, LOKD and Heimlich) added his unique signature - a fabolous 9 minute adventure full of melodies & deep grooves.
Benjamin Fehr - a berlin based active producer since 15+ years - treated „Fieser Niesel“ and maybe this track is the surprise of the EP - a glitchy & bleepy adventure that follows the roots of good old Robag Wruhme Tracks. „Jimi Nagel“ is the first out of 2 digital only tunes - something for the early after hours while „123“ is more suitable for the real club hours.

Demon Records presents the first ever vinyl pressing of The Durutti Column’s 2009 studio album “Love In The Time Of Recession”.

Formed in Manchester in 1978, The Durutti Column were one of the first acts signed to the iconic Factory Records by Tony Wilson. Primarily the project of guitarist and vocalist Vini Reilly, the group have a cult following with notable fans including Brian Eno and John Frusciante.

“Love In The Time Of Recession” finds Reilly and co continuing to explore genre-blending sounds. Highlights include the fuzzy guitar filled ‘In Memory Of Anthony’ (a tribute to the late Factory Records founder), and ‘More Rainbows’, an instrumental conversation between Vini Reilly’s soaring guitar and girlfriend Poppy Morgan’s dreamy electric piano.

Pressed on two 140g translucent amber vinyl, housed in printed inner sleeves.

Demon Records presents the first ever vinyl pressing of The Durutti Column’s 2003 studio album “Someone Else’s Party”.

Formed in Manchester in 1978, The Durutti Column were one of the first acts signed to the iconic Factory Records by Tony Wilson. Primarily the project of guitarist and vocalist Vini Reilly, the group have a cult following with notable fans including Brian Eno and John Frusciante.

Recorded after the passing of Reilly’s mother, the melancholic “Someone Else’s Party” explores themes of loss and reflection. Highlights include the trip-hop influenced ‘Vigil’, and ‘Spanish Lament’ which weaves together Reilly’s signature shimmering guitar sounds with a sample from David Lynch’s Mulholland Drive.

Pressed on two 140g clear vinyl, housed in printed inner sleeves.

Rubisco celebrates it’s 10th installment with a release by Diego Krause. His Syncopate EP features three signature club-rollers and a remix by the one and only Fabe.

The fantastic duo S/S (Silent Souls) have been signed for the new vinyl on Eclectic with four authentic tunes. Impressive kick drums and a dynamic synthesizer make up the main character of the obscure ''Everlasting EP''. As a result we are able to witness a true masterpiece of Techno.

After releases on Distinkkt, Blue Park, Woob.le Recordings
and a stream of free downloads and self releases Ali
Whitticase joins Motoring with an ear catching approach to
stripped back house music. The Birmingham based artist
has carved a distinctive sound pairing in§uences from
Europe’s minimalist expressions along with bold basslines
heard shaking Midlands dance §oors. Detective Sandy kicks
off the EP with crisp percussion, and a signature Whitticase
low end. Elements trail off into endless directions, subtly
teasing a hypnotic listen with a multitude of quirky sounds
held together by a seriously grooving bassline. Birmingham’s
Jordan Masters joins that side with a stripped back remix of
the title track, nimble hi-hats, shimmering percussive work
and §avours of minimal garage can be heard throughout, a
bouncing bassline delivers a rapid groove for a great balance
between ear engrosser and dance §oor mover. Jos of
EYA/Lonewolf records delivers his twist on Detective Sandy
for B1, a 90s inspired synth reigns through the entire
composition, sultry vocals, a darker rolling bassline and
sharp percussive elements all build into a suspenseful break,
where the listener is dropped back into the hypnotic twists
and commanding low end. (Premiered on Halycon Wax
08/10/2020) Saucy Thoughts rounds this EP off a Warm
and familiar atmosphere is paired with sublime skipping hi
hats which draw the ear. While Saucy Thoughts is more
chilled affair it still hits in all the right places, another bold
bassline builds throughout the track with deep accents
providing a bouncing groove before the track splits boldly
back into the §oating atmosphere. (Premiered on Rayzeh
02/10/2020)

Grammy nominated & Defected Records signing Michael Gray is a hugely respected and established British DJ and music producer, and is also one half of the dance music production and remixing duo ‘Full Intention’ who have been at the forefront of Dance music since the early 90s. He’s also known for his solo hits ’The Weekend’ & ‘Borderline’ and recently ‘the Sun’. #2 Soul /Funk /Disco Artist by Traxsource in 2019. Currently his latest remixes include Louie Vega produced Anane - ‘Get on the Funk Train’ (Michael Gray & Mark Knight Remix) which has recently gone to No. 1 on the overall traxsource chart, Serious Intention - 'You don’t know’, Raze - Break for Love, Sylvester - You make me feel (mighty real) Records) and his Sultra Remix of his single ’The Weekend’ (First played by Pete Tong on Radio 1) He has played for nights such as Glitterbox at The Ministry of Sound, Hi Ibiza, Fabric, Downtown Disco and recently for The Glitterbox Virtual festival.

Kelli Sae is a New York born and bred Performer, Singer, Songwriter, Actress, Composer, Comedian and Playwright. Born of Puerto Rican and African descent, her music is a masala of sounds, cultures and influences that drive her instincts.

Kelli has worked with Tina Turner, Paul Simon, Seal, Chaka Kahn, Gladys Knight, Lionel Richie and many more. Kelli is also a Principal Vocalist Monday night’s on ABC’s hit Reality Television Show Dancing With The Stars. Other Television shows she’s worked on are I Can See Your Voice, Rising Star and The Singing Bee.

East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...

Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.

Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint.

It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.

Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

The successful Canadian singer-songwriter Alanis Morissette released her seventh studio album Flavors Of Entanglement in 2008. She wrote and recorded the album with the British composer Guy Sigsworth (Björk, Madonna etc.). The album was written during a very challenging time in her personal life (break-up with actor Ryan Reynolds). It is the reason that she combines a lot of different musical genres in the sound of the album, including hip-hop, electronic and alternative rock. The album is hailed by critic as a longstanding masterpiece, fully understandable when you listen to the depth and structured layers of the songs. She shows her personal feelings in the tracks of heartbreak, regret and anger.

The first track on the album, “Citizen Of The Planet” focuses on her new sound, while the first single “Underneath” is about difficulties in communication.

Sam Gendel’s Nonesuch Records debut, Satin Doll, was recorded in Gendel’s native California, and is a futuristic homage to historical jazz. The album features three musicians — Gendel on saxophone, Gabe Noel on electric bass, and Philippe Melanson on electronic percussion — engaging in simultaneous synchronized sonic construction/deconstruction of jazz standards, including Miles Davis’ ‘Freddie Freeloader’, Charles Mingus’ ‘Goodbye Pork Pie Hat’, and Duke Ellington’s ‘Satin Doll’.

Sam Gendel is a musician and producer living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes significant collaborations with a wide range of artists including Ry Cooder, Blake Mills, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world. Gendel’s previous discography includes the critically praised Music for Saxofone & Bass Guitar with bassist Sam Wilkes and 4444.

DOWNFALL is the first album under the name SAITO created by Lena Saito, aka Galcid, and produced by accomplished analog synthesizer guru, Hisashi Saito, aka Lena’s husband. Having descended from a long line of Japanese sword-smiths, the industrial sound of smashing steel is embedded in Lena’s DNA and reflected in her music, however there are also refined, hypnotic tones showing a side with more finesse. The music itself is not scored and is predominantly improvised. Words and vocals are ad libbed as well. Sometimes the machines respond as if through telekinesis, altogether emitting a sound which can be categorized somewhere in the range between modern experimental dance music and something possibly making more sense to enlightened minds a thousand years in the future.




There is a new addition to the forge of talents of Mille Plateaux, a Japanese musician by the name of Saito whose album has been released on the label under the title of Downfall. After a whole series of releases under the signature tag clicks & cuts, there comes out a work, much more suited for a dance hall, that is different in terms of the genre from everything that has been published so far.
Like a bucket of ice-cold water poured over the head, erratic agressive hardcore rhythms pour all over the audience in the first track, interrupted only by grinding noises and minimalistic technogenic clicks.
Downfall won't fail to infect even the most experienced music connaisseur with its out-of-control energy, while offering a wide range of techniques: at times, robotic voices, one second long fragments of looped melodies and many other audio gimmicks.
Lena Saito (that is the author's name) is not afraid of conducting experiments in her chemical laboratory, freely mixing sound reagents without taking any precautions. It feels like, this new chemical substance, that she has been working on so thoroughly, contains quite a long list of ingredients, although its main component is the various rhythm breaks.
The synthesizer part of Red Hammer sounds in the best traditions of the acid style, and the rhythm section is akin to African tribal dances of the future. Downfall is absolutely unrelenting in its concept.
The melody of the composition Nucleosome is a little bit like the melancholic IDM of the 00s, finding itself secondary to the dominating, yet again convoluted rhythmical web meticulously woven by Saito.
This album can be definitely named as a big contender aspiring to start a new golden era of Mille Plateaux, and Saito as the hidden treasure of the label that can challenge even the veterans for the right to be the headliner.

Selva Discos keeps broadening horizons. Its next release celebrates the start of a new series called Novaterra, this time focused on showcasing the music of contemporary Brazilian artists. First up is Zopelar, known not only for his work with the anarchic-techno-punk act Teto Preto but also for the project My Girlfriend and his solo LP, both on Apron Records.

Novaterra vol. 1 by Zopelar is a mini-LP featuring 6 tracks that range from the introversion to the extraversion. In one hand you have an A-side banger like "Be Together", with its addictive looped-sample, and in the other, you get the laidback interlude of "Modo Avião", which sounds like one of those MF Doom's instrumentals – and between both, you will find a whole spectrum of music where you can experience the duel between super crispy beats (a signature in Zopelar's work) and the richness of melodies and harmonies that he's able to knit stitch close to perfection.

The opener "Livre" has a great deep house vibe that makes you think of Prescription Records and Jazzanova, featuring a catchy bossa ad-lib. "NOX" is a Hammond-led tune with a groove bassline and lead that gets you going in no time as if Cesar Camargo Mariano and Larry Young toured together in the late 70's, like, a big, fat jazz-funk tune. "Dias Tensos" is a nervous drum workout led by an automat Tony Williams as if jamming in a 16-bit version of The Tony Williams Lifetime. And to wrap things up, "Boogie da Paz" is one of those perfect comedown tunes – a true tearjerker that works its melody line like a good pill works your serotonin, making it one of those tracks that you keep under your sleeve for those special 6 AM moments on a dancefloor.

The artwork is courtesy of Colletivo Design Studio in Sao Paulo.

Signals is an absolutely beautiful new collaborative effort between the much beloved Finnish electronic artist Lau Nau, and the brilliant Swedish composer and pianist Matti Bye. These 8 gently melancholic and deeply sensitive tracks are a perfect antidote to the stressful times that we all find ourselves in. Let these soothing sounds from the light filled days and nights of the far north soften your cares during these all too dark days. As usual at the Time Released Sound label no effort or expense was spared here, and this lovely record comes with 180gm black vinyl in a super heavyweight, beautifully printed reverse board jacket.

We met Franck Vigroux for the first time years ago at Berlin's Berghain during a soundcheck. At that time he performed with Mika Vainio, with whom Vigroux often worked together.

The first track on »Ballades sur lac gelé« dates back to that time. It was created under the impression of this collaboration and friendship with Mika Vainio. This album is dedicated to him.

Vainio's oeuvre is also significant in connection with the history of raster, so it was only logical and our wish to release this album by Franck Vigroux.

With the beginning of the corona pandemic, Franck Vigroux took up this early material again, he continued to formulate it and completed the present album »Ballades sur lac gelé«. The title already defines the theme of the ballad, a "song/poem with very minimal structures" (quote Vigroux).

"Ballade" is also a play on words with the French word "balade", in this sense a ramble, a ramble over a frozen lake. The reduced, cool structures reflect this. But at the same time, under the surface, the (often distorted) sound carpets steadily increase to immense power. Like ice that grows and tectonic forces that have to erupt, glacier-like.

Vigroux is very skilled at creating music in this minimalist setting. The intertwining of very few musical elements creates a kind of soundtrack that is multi-layered and at the same time universally intelligible.

»Ballades sur lac gelé« will be released on June 26th, 2020 as a digital pre-release exclusively on our sites. The physical formats, i.e. CD and vinyl, can be pre-ordered. The official worldwide release date will be announced at a later point in time.

Birds are singing, a soft female voice embraces the stars, then the funk hits the fan: the second album of mysterious Japanese singer Nadja haunts immediately and marks one of the most exquisite reissues in the ever-growing catalogue of Studio Mule. Originally released in 1989 as promo only CD on the Japanese label Polystar, the album features some of the finest eighties pop funk fusion arrangements of the era. A deeply enchanting lost gem, that gets listeners instantly into heavy repeat addiction.

All ten songs are arranged by a group of grandmasters of their art. Japanese saxophonist, composer and music producer Yasuaki Shimizu, man behind the electronic ambient fusion classic “Kakashi”, was in charge for tunes like “Wac-Wack”, a neon light funk pop song, full of soft big city eroticism, ultra-slick synth lines and real funkateer explosions. It’s followed by “夢のとりこ”, the most stirring pop tune on the album, that originally was written by French composer, multi-instrumentalist, actor and singer Areski Belkacem, known for his and long-time collaborations with French avantgarde singer Brigitte Fontaine. Shimizu transformed the song into a low hanging funk jewel, with a cool rolling bassline, dub depth and synths that cry for cosmic help. Above all Nadja signs with a sexy chill, that somehow could only emerge in the 1980ees, when the cold war even made pop music real cool. The follow up is named “真珠のように”, features again music by Belkacem, this time transformed by Shimizu into electronic erotic pop - dreamy, witchy and precisely musical composed.

The B-Side opens with “Velvet Rain”, a funky urban boogie composition by Japanese keyboard player, composer and producer Akira Inoue, enlarged with glimmer camp kitsch, that immediately puts a smile on the listeners faces. It gets followed by “Paradise Catcher”, a soft pop tune with longing string and horn sections, arranged by legendary Jamaican rhythm and production duo Sly & Robbie. It somehow marks one of the strangest songs in their longstanding career, as it is largely minimal orchestral but yet super tight when it comes down to the rhythmic magnitudes. The next tune, “Private Tripper”, also stays soulful, funky and horn driven. Always pleasing the super tight, yet feathery voice of Nadja, that is dancing about boogie grooves and illuminating melodies with a seducing tragical coolness. Finally the album ends with a stylistic break in the overall musical atmosphere. It comes from Japanese musician Hiroaki Goto, it’s called “地図をずっと南へ”and features Afro-Brasilian voodoo rhythms, pan flutes, cosmic piano notes and Nadja, singing like a rain forest sorceress from outer space.

Ten arrangements by a bunch of high-grade arrangers, that all left Nadja’s voice enough space to widespread her talent as a supremely seducing singer, who wrote all lyrics, vocals and chorus by herself in order to present her touching vocal class in a vivid, bewitching timeless style. Come in and get ensnared!

Award-winning International DJ and Producers The Prototypes release their third album ‘Ten Thousand Feet & Rising’. The Brighton based Drum & Bass duo were previously signed to tastemaker label ‘Viper Recordings,’ home to Matrix and Futurebound.

The Prototypes’ potent, hard-hitting production and broadsword body of work on seminal labels such as UKF, Viper Recordings, Shogun Audio, Ram Records, Technique Recordings and Formation. Anthems that have been supported across the entire D’N’B scene such as ‘Pale Blue Dot’, ‘Pop It Off’ and ‘Kill The Silence’.

Their expansive and versatile remixes of acts ranging from Ed Sheeran to Avicii to Friction by way of their sought-after bootlegs of Fisher and Knife Party and unreleased dubplate remixes of Bad Company and Pendulum. Not to mention their extraordinary debut album ‘City Of Gold’ that exploded in 2015, took them around the world several times over and elevated them to headline status.

‘Shadows’ is the first single from the new album, which they explain as ”a throwback to the Hardcore scene from the late 90s, with a piano line influenced by pivotal names through the history of the UK’s rave scene such as Vibes & Wishdokta, DJ Dougal, Slipmatt, and Nookie, to which we added a straight up banger of a bassline”.

Featuring Ulta Music’s singer Lily McKenzie, known for her collaborations with industry heavyweights including Giggs, Conducta and Wiley, as well as featuring on Crazy Cousinz’s 2017 smash hit, ‘No Way’, alongside Yxng Bane and Mr Eazi signed to Ultra Music.

Previously supported by the likes of Zane Lowe, Annie Mac, Andy C, Roni Size, Friction, J Majik & Wickaman, Pendulum, DJ Fresh plus many more.

180g black vinyl Star Birth and downloadcode for "Star Birth" and "Star Death". Gatefold.

'Star Birth' is a flung fisherman's net, mighty in scope, irrevocable as looking up from the stone floor of a cathedral – there is space, yet there is profound intimacy from the immediacy of the lyrics, our thoughts rattling around like panicky goldfish. Race has taken aspects of areas
previously explored, and made a quantum leap into the unknowable. With opening track Can't Make This Up, the gauntlet is flung down – 'what is need, what is greed / it's a new crush, the brain trust/ hive mind rewrite rewind/ falsehood streaming'

'Star Birth' is international maverick and music icon Hugo Race's 15th album with his band of True Spirits. It's a double album and the twin album's name is 'Star Death'. Star Birth was recorded during Australia's bushfire summer apocalypse of 2019 and mixed as the 2020 covid-19 pandemic hit. When the stars align it all makes sense, Hugo explains, adding that one oceanic evening while writing the album a bright star exploded right before his eyes, the sign of a sudden end and a new beginning...

Hugo's writes of trials, tribulations, hopes, fears, heartaches, loves, losses, highs and lows – 'everyday I die a little bit more, in a thousand ways I fight my little wars – and he sings with exquisite pathos and depth, like he's singing just for you about the times in which we live –
political disasters, our planet, the absence and the presence of spiritual values, broken promises, cracked hearts and if any of it really matters anyway. With hell raising lyrics like,Expendable, you'd have to wonder if anyone of us will make it through alive – 'hey sister, are
we all expendable? nobody wins, but so many of you think they do / don't try to fool yourself people, deep down you know the truth - everybody gets their one hot shot but no one's bullet proof'. But then The Rapture reminds us that there will always be stars dying in the glory of
new life – 'give us this day comfort and bread / implant in us the living word / empower us with divine love and deliver us from evil / for you are the one true light / the power and the glory / forever /amen'

Hugo's True Spirit deliver a lush, sonic love letter of rock, electronica and dramatic orchestration, based in blues, hypnotic repetition and sonic exhilaration. Michelangelo Russo is a huge part of this atmosphere; his approach to music is that of an artist with a palette of
mysterious implements and machinery, but the entire band and production is incredible from start to finish. Star Birth is 48 minutes of mind expanding, mind blowing, heel tapping tunes, with its sister album 'Star Death', a dub version of remixes that will send you searching for
your own exploding star somewhere in the sky…

One year after the landing of his long-awaited eponymous debut album, French producer Zimmer is back with a massive remix package to make the pleasure last, and he’s certainly put on a great spread for the occasion.

Up on duty for this second round of synth-splattered, stargazing goodies, we find none other than Herr Gerd Janson in the saddle for a pair of ‘short' and ‘extended’ dance versions, expert vibist Lauer, Mexican outfit Zombies In Miami, US-based producer Amtrac, with French clique homeboys Kendal and You Man completing the set.

All synths blazing, Gerd Janson gets the ball rolling with a pair of prismatic reworks of ‘Rey’, tailored to take the dancers on a wildly fun and light-hearted space jaunt. No need for an intro, the ’short edit’ goes straight for the audio G-spot and takes no byway to get its point across - pure mellifluous, horizon-widening dancefloor carefreeness on the menu.

Don’t get too easily distracted by its title, the ‘extended version’ is no basement creeper but rather an enhanced summer-flavoured earworm that lays further emphasis on the drums and bass for optimal peak time functionality.

French duo You Man pick up the torch with an equally sturdy and emotional reshape of ‘Wildflowers (ft. Panama)’, nicely contrasting Panama’s suave vocals with thoroughly funk-oozing bass arpeggios that’ll melt any sweatbox down to the ground.

In comes Lauer’s reinterpretation of ‘Mouvement’ - a dynamic late-afternoon weapon meshing the hectic bounce of cascading synths and incendiary bass, hazed-out poolside vibes and pop-indebted melodic motifs. The result is a fast-paced heater primed for extended use from sunset to sunrise with vibrant variations in shades throughout.


A true solar-powered, mystique-imbued affair, Zombies In Miami’s take on ‘Mayans’ propels us in a fascinating continuum of pulsating rhythms, hyper-modern textures and smouldering ritualistic vibrations.

Adding his spin to ’Techno Disco’, rising talent Kendal shoots his shots with deadeye accuracy, luring you into a junglistic intro to better surprise you with his usual tsunami- like deluge of serpentine keyboard chords and epic buildups.

Topping off this variegated sonic journey, Amtrac takes us on a soul-healing trip with his revisit of ‘Make It Happen’ - laying down a particularly tasty downtempo pop jam for you to chill and dream yourself to sleep with, fully enlarged with his trademark streamlined, balmy signature.

Videosphere, the debut album by Kompakt’s latest signing, the London-based artist Lake Turner (aka Andrew Halford), swoons into focus with “The Sunbird”, a teasing drift of lilting, ambient tones, riding out a submerged piston-pulse rhythm. Across its brief 109 seconds, it manages to traverse evocative terrain – something mythopoetic, something both humble and grandiose, a glimpse of the other behind the sky’s curtain. “I wanted to conjure up something resembling an ancient ceremony or death procession,” Turner nods. “Like a hymn to the surroundings of a faraway hill.” It’s both sky-bound and earthen, a ritual incantation to call in the music of the spheres.

Turner was introduced to the Kompakt family by his sometime collaborator Yannis Philippakis of Foals. He’d previously made music in post-punk and indie groups Great Eskimo Hoax and Trophy Wife, but Videosphere is the first time he’s fully articulated his own vision of electronic music, aside from one limited lathe-cut 12”, 2018’s Prime Mover EP, on Algebra. The lush ambient-disco-techno dreams of Videosphere were constructed and completed in his London studio and at his parents’ arable and sheep farm in Worcestershire, which might help explain the hazy, unhurried pastoralism of the album.

“There was a slight bittersweetness in finishing the record (in Worcestershire) as my parents were in the middle of selling my childhood home,” he sighs, before quipping, “on the plus, I ended up shearing a lot of sheep over the summer.” A student of archaeology and ancient history, Turner is no doubt carefully attuned to the twisting cogs of history and memory, and it’s no surprise that Videosphere has a nostalgic, melancholic cast; much of its beauty rests in the way it tugs, gently, at the heart strings – see the tear-stained cheeks of the lush, dappled “Honeycomb”, or the sweetly sad electro-roundelay of “No Way Back Forever.”

It’s not all drift-dream hypnosis, though – Videosphere is very much grounded in the now. ““No Way Back Forever” is a nod to the linear nature of time,” Turner explains by way of example, “and the tipping point of the world climate crisis that scientists have now declared.” Jayne Powell’s vocals are sent spinning through the song, wound like candyfloss; she takes centre stage on the techno hymnal title track, too. Throughout, there’s a sense of forward movement, despite the life stasis we find ourselves collectively bound by in mid-2020; there’s also a yearning for the communal, for community, that’s captured in the album title, a nod to an object Turner encountered at London’s Geoffrey Museum, “a television set in the shape of a spaceman’s helmet from the 1970s.”

“The vision I loosely had was to make an electronic record that had a communal warmth and almost ceremonial or ritual feel. I wanted to examine the relationship of our archaic minds in the trappings of the modern world,” Turner concludes. “What the Videosphere also symbolizes for me is the oneness of humanity and community, prevailing.”
Eröffnet wird "Videosphere", das Debütalbum von Kompakts jüngstem Signing, dem in London ansässigen Künstler Lake Turner (alias Andrew Halford), mit "The Sunbird" - einem herausfordernden Strom aus Ambient Sounds, die zu schweben scheinen, um sich dann in einen subtilen, maschinellen Rhythmus zu verwandeln. In gerade mal 109 Sekunden gelingt es dem Stück, ein gewaltiges Terrain abzuschreiten - etwas Mythopoetisches, bescheiden und grandios zugleich, gibt uns eine Ahnung davon, was sich hinter dem Himmel verbirgt. "Ich wollte etwas heraufbeschwören, das einer alten Zeremonie oder Totenprozession ähnelt", sagt Turner, "wie eine Hymne an die Umgebung eines weit entfernten Hügels." Himmlisch und irdisch zugleich, eine rituelle Beschwörung von Sphärenmusik.

Der Kompakt Label-Familie wurde Turner von dessen zeitweiligen Mitarbeiter Yannis Philippakis (Foals) vorgestellt. Zuvor hatte er in den Post Punk- und Indie-Bands Great Eskimo Hoax und Trophy Wife gespielt. Bis auf eine limitierte lathe-cut 12", der "Prime Mover EP" auf Algebra von 2018, artikuliert Turner mit "Videosphere" zum ersten Mal seine eigene Vision von elektronischer Musik.

Die üppigen Ambient-Disco-Techno-Träume von "Videosphere" hat Turner in seinem Londoner Studio und auf der Schaffarm seiner Eltern in Worcestershire produziert, was den nebulösen, gemächlichen und beinahe pastoralen Charakter des Albums erklären könnte.

"Es gab einen bittersüßen Moment als ich mit der Platte (in Worcestershire) fertig geworden war, da meine Eltern gerade dabei waren, das Haus meiner Kindheit zu verkaufen", seufzt er, bevor er witzelt, "das Positive war, dass ich im Laufe des Sommers eine Menge Schafe geschoren habe". Als Student der Archäologie und der Geschichte des Altertums ist Turner zweifellos mit den sich unaufhörlich drehenden Rädern der Geschichte und der daran geknüpften Erinnerungen vertraut, und es ist keine Überraschung, dass "Videosphere" einen nostalgischen, melancholischen Einschlag hat; viel von seiner Schönheit liegt in der Art und Weise, wie es einem sanft ans Herz geht - die Tränen benetzten Wangen von "Honeycomb" oder der ambivalente Elektro-Reigen von "No Way Back Forever".

Trotz allem hypnotischen Driften und Träumen - Videosphere ist sehr stark im Jetzt verankert. "`No Way Back Forever`ist eine Anspielung auf die lineare Natur der Zeit", erklärt Turner beispielhaft, "und auf den Wendepunkt der globalen Klimakrise, den Wissenschaftler gerade ausgerufen haben". Jayne Powells Gesang wirbelt dabei wie Zuckerwatte durch den Song und steht auch im Mittelpunkt des technoid hymnischen Titelstücks. Überall ist ein Gefühl der Vorwärtsbewegung zu spüren, trotz der Stagnation, in der wir uns Mitte 2020 kollektiv befinden; trotzdem existiert eine Sehnsucht nach dem Gemeinsamen, nach Gemeinschaft, die im Albumtitel eingefangen ist - eine Referenz an ein Objekt, dem Turner im Londoner Geoffrey-Museum begegnete, "ein Fernsehgerät in Form eines Raumfahrerhelms aus den 1970er Jahren".

„Die lose Vision, die ich hatte, bestand darin, eine elektronische Platte zu machen, die eine soziale Wärme und eine fast zeremonielle oder rituelle Atmosphäre ausstrahlt. Ich wollte die Beziehung unseres archaischen Geistes in den Fallstricken der modernen Welt untersuchen", so Turner abschließend. "Was `Videosphere` für mich auch symbolisiert, ist die Einheit von Menschlichkeit und Gemeinschaft, die am Ende obsiegt".

Omena hits release no.30 and celebrates by bringing in Twovi aka Vito Loperfido to the family.

Vito released his first track, 'Giango' on Bosconi Records back in 2017 and followed up with 'In Memory of Love', on Chez Damier's Inner Balance, a release that showcased his talent for blending classic house with a fresh approach.
Fast forward 2020 and we got a new release 'Panama' ready.
These four tracks show why Vito is leading the wave of musical talent coming from Italy and he's not afraid of using inspiration from different sources.

The opening track Panama is an ode to a jazzy KDJ breeze while Santiago is a clever broken beat track with a few latin vibes sprinkled on top.

On the flip, Manchester producer Contours continue to turn music into gold with a singular remake of Panama.
It's a deep and rich version with his signature percussions included.
Last but not least Lima ends this fine EP, a track which takes us back to the golden days of Nuphonic.

Five years after his critically acclaimed debut album Throwback, Glenn Astro returns with his deeply personal album Homespun.

Marking a change in course from his first release on Tartelet Records, Glenn Astro is set to showcase his sophomore album Homespun, a testament to a visionary artist who has come into his own. Made up of ten tracks spanning 45 minutes, the record twists and turns between electronic meditations, soulful vocals by Ajnascnet, and futuristic electro, carving out a world of spacey eclecticism that is as nostalgic as it is experimental.

“This album is in all facets different from the first one, which was a deliberate decision. No vintage sounds and references, no sampling, combined with futuristic sound design and song structures.I tried to keep it as current and intuitive as possible,” he says.

Known for his chunky beats and fuzzy textures, Glenn Astro has released on labels such as Ninja Tune and Apollo, leaving a distinctive signature on everything he touches.

But Glenn Astro has quietly been crafting a new sound for himself. Sometimes taking detours – morphing into his dark alter ego and experimenting with artist collaborations.

The sound of Homespun is a culmination of several years of reflection and artistic development – however, the album itself was produced in less than three months. “I set myself an ultimatum to finish the album within three months. If I didn’t make it, I’d
have to rethink my career path and keep music as a hobby, he says.

On the introspective first single and album title track “Homespun,” Ajnascent’s vocals lend a sincerity to the melancholic production. “It’s about the regret of not taking chances and giving in too much, but also about taking responsibility and being honest with yourself. Homespun is a nod to nostalgia and a desire for simplicity and prudence, being equally the culprit and the cure,” elaborates Ajnascent.

On “The Yancey,” an homage to J Dilla, Glenn Astro paints his vision of contemporary dance music with shimmering melodies, deep ambient soundscapes, and advanced drum programming. “Moreira” and “Look at You” feel like spaced-out electronic funk hybrids, while “Taking Care of Business” goes back to the future with Glenn Astro’s take on jungle. Other tracks such as “Mezzanine,” “Slow Poke Flange,” and “Viktor’s Meditation” provide the finest dubby electronics.

“His music defies predictable electronic pigeonholing” – VICE French-Canadian producer and live act Christophe Dubé, aka CRi, is a dance music star in the making. Following in the footsteps of fellow Montréalers Jacques Greene and Kaytranada, CRi has risen through the city’s bubbling scene in recent years and now reveals his debut album ‘Juvenile’. A self-taught college dropout, CRi caught the attention of tastemaker press with early single ‘Rush’ and his 'Someone Else' EP. 'Rush', accompanied by an award-nominated music video, and 'Someone Else' picked up a nomination for Electronic Release of The Year at the 2018 Juno Awards (Canada’s equivalent to The Grammy’s). “I’m just a pizza delivery guy that said fuck it…” CRi’s sound blurs light, dream-like melodies with textured production - capturing the energy of the dancefloor, and the nostalgia of the morning after. Christophe draws inspiration from his musical heroes Moby, St Germain and Daniel Bélanger (who appears on the album), along with more contemporary influences ranging from Caribou and Dark Sky to Jacques Greene and Actress.

Repress / White Vinyl

French artist Franck Kartell returns with Alaska, his fourth full length release on UK imprint Bass Agenda Recordings. Critically acclaimed for his masterful blend of low bpm heavy beats and signature deep atmospheres Kartell moves from the fascination with the work of film maker Chris Marker's that powered his last two albums to the drama of Alaska. Like its geographical namesake the album spans ethereal beauty, drama, light and darkness and similarly provides a very individual landscape.

Green Vinyl

'2016 - My Generation”?: a momentous comeback for Mirwais, two decades on from his classic “Production” album.
It all started in 2016 with an idea Mirwais had for a music video to promote his upcoming single ?“2016 - My Generation”?.
The idea led Mirwais and co-founder of graphic design studio H5/creator of the Oscar-winning ?“Logorama”? animated short
Ludovic Houplain? ?to work together on a fascinating ten-minute short entitled “?My Generation?”.
Since its 2017 release, the film “?My Generation?”, produced and scored almost liturgically by Mirwais, made the rounds of
festivals, winning several prizes worldwide.
It presents itself as a backwards travelling shot during which all of our pop culture moment’s gimmicks collide at 100 km/h:
sex, the net, art, politics, sports, stocks, big pharma and big porno – from Hitler’s speeches to Trump’s contemporary
analogues.
Flash forward to 2020, and it is this very six-minute ?pop-litical ?critique of our era’s societal excesses that Mirwais chose
as the music video for his new single ?“2016 - My Generation”?, set to be released during the coming fall’s American
presidential election.
A sonic deflagration that heralds a new album from one of Madonna’s most iconic collaborators, succeeding, two decades
later, the now-classic ?“Production”?. A punchy, percussive single poised between hard techno and electronic disco,
sprinkled with choirs and distorted, psychedelic synths ?“2016 - My Generation”? is a dance floor-ready opus bearing
Mirwais’ inimitable signature. This way of mixing genres, of conjugating past and future, and of making pop experimental
and vice-versa, cements Mirwais’ reputation as one of times’ most singular composers.

Arkham Audio presents yet another delicious techno EP by renowned French electronic musician Electric Rescue alongside a solid lineup of remixers. 'Dream Warriors' follows on from Electric Rescue's recent album release on none other than John Digweed's Bedrock Records, and comes bearing more of the intoxicating rhythms that we have grown accustomed to and equally as indulging reworks by Denise Rabe, TWR72, and Arkham label head Cri Du Coeur. This record firmly establishes that his hypnotising yet adrenalizing sound is a force to be reckoned with as he unveils a relentless yet minimalistic techno sound that shows inspiration from his friend and mentor Laurent Garnier.
The rave begins with the original mix of 'Dream Warriors', which leads with an infectious beat and hazy serpentine melody that thrusts your mind into a powerful yet entrancing oblivion. Heavy percussions and lively daunting melodies set the tone for rest of the record. Cri Du Coeur's rework of introduces itself with a pommelling baseline, layers of stimulating hi-hats, and transcendental melodies that create the perfect inebriating brew. The Denise Rabe remix spices things up with a mind-numbing visceral baseline and spooky industrial sounds that echo throughout the atmosphere.
Next up is 'Einoeino' which has a playful beat that contrasts with a dark and fuzzy looping melody to create the ultimate heart-racing and thrilling experience for the listener, leaving you to imagine being chased around a haunted circus. The remix of 'Einoeino' by TWR72 delivers his signature sound that encompasses pulsing rhythms, unyielding muffled baselines, and a slightly off-beat groove that concocts the perfect smoky dancefloor track.
Bringing together an innately well-suited collection of artists, Electric Rescue showcases his industrial techno-wizardry and prowess in putting together enthralling and boundless soundscapes with his new EP 'Dream Warriors' on the newly-founded yet tenacious Arkham Audio label.

Ai Aso’s immaculately crafted form of minimalist pop music skirts the edges of tensity with the manner and with the skill of a tight rope walker, calmly balancing repeatedly at every step, with a combination of surety and the risk of a slip, a fall, and an unknown uncoiling of events. Aso's capacity to capture, or inspire, the tension and attention from within the listener and observer are quite pronounced. At Aso's concert the performance constantly teeters near the brink, a sharpened awareness in the hall emerges from all observing, with the will of that most delicate balance. On “The Faintest Hint” she brings a meta level to the proceedings, the dream of a singer in a bright sunlit room in the centre of the density of the society, simply and precisely searching for single ideas, single tones, a sense of sensuality and even a dream of a grandeur (rock dream) emerge. A stillness prevails, even a sharp set of instances of dreaming, melancholia, nostalgia… or even saudade. The album was recorded, mixed & mastered by Soichiro Nakamura at Peace Music between 2018-2020. Atsuo and I joined these sessions as producers, and moreso as catalysts, yet also became the skeleton of a band on the album (with the tender touch). The legendary Japanese rock band Boris accompany Aso on two pieces. A faintest hint of sharpness and la tendresse féroce quickly erodes into a fine brief cloud of the purest crystalline dust.

–Stephen O'Malley, Stockholm June 2020

Madcap returns to Soul Deep with his much anticipated, Hide EP. Madcap has established himself as one of the top producers in the scene, with his signature sound that often pays homage to his roots in early Jungle in Hardcore Breaks. With releases on Soul Deep, Smooth N Groove, CIA, Mac II, Myriad, Symmetry, and AKO Beatz, Madcap continues to push his sound to new heights. The Hide EP takes us back to mid 90's, with it's tough Amen breaks, BIG 808 baselines, smooth atmospherics, and classic vocal embellishments. The vinyl release is limited, so make sure to grab this instant classic release before it's too late!

Outstanding and legendary Italian Library album out of the vaults of Cometa Edizioni Musicali featuring tones of mental Jazz-Funk and Psychedelic beats. The listener is constantly kept by the incredible music that swings between Psychedelic Funk, Esoteric Jazz and Cinematic/Love themes. Tracks like "Love For Sale", "Privacy", "Metropolis Notte" and "Dopping 2000" are simply timeless, with a stunning sound that perfectly plunges in the universe of great 1970s vibes and golden Italian library/film music of the time. Originally issued on Limited Edition serie for collectors, this gem has been repressed on 180gr. wax again with improved sound quality remastering from the original master tapes.

One of the most quietly influential underground artists of recent times, Yamaneko returns with Spirals Heaven Wide, his fourth full-length album. Since breaking through in 2014 with his cult debut album Pixel Wave Embrace, Yamaneko has been one of the key artists re-contextualising ambient music for a new generation, crafting fragile compositions that draw as much from the angular shapes of grime, techno and keygen music as they do the soothing soundscapes of new age cassettes, ambient records and video game soundtracks. Written during Yamaneko’s last winter in London before relocating to Tokyo, Spirals Heaven Wide is his longest and largest-sounding release to date, combining some of his most evocative long-form pieces with the kind of haunting miniatures that made his early music so distinctive. The majority of the tracks were written after Yamaneko's first run of audio-visual shows at the end of 2018, and so are rooted in the same kind of live workflow and production methods that he explored with those sets. As with last year’s Afterglow EP, Spirals Heaven Wide is underpinned by a underlying influence of euphoric dance music, with distant trance and hardcore signifiers - both key influences on Yamaneko from an early age - visible through the album’s thick blankets of wind and fog. These influences come fully to the forefront on ‘This Spring of Love' and 'Fall Control’, two of the most outright spine-tingling tracks Yamaneko has released to date. Elsewhere, the album explores his love of emo music’s bittersweet melancholy, a fascination with constellations and the cosmos and an increasing love of writing extended, long-form compositions: a side of Yamaneko first explored on 2017’s Spa Commissions collection and continued on his contribution to respected ambient series Longform Editions.

German techno and house composer Tim Engelhardt takes you on a deep dive into his peculiar-yet-relatable world of musical meanderings with ‘Idiosynkrasia’. True to the nature of idiosyncrasy, the album is more than the sum of its parts.

‘Idiosynkrasia’ is an ode to the inspiration Tim finds in all kinds of spaces and places: each cut woven from the same cloth of meticulously formed melodic structures and expertly crafted harmonies, gently amplified and unfettered by genre. From the opening track it’s clear that Tim has a profound awareness of rhythm and sound, his background as a pianist lending an easy fluidity to the album as it expands and contracts to tell a story which is gentle, humble and reflective.

Using granular processed recordings of piano, floating strings and other instruments to transmute emotions like love, nostalgia, vulnerability and longing, the album shifts through meditative, flow-state inducing tracks, morphing into cuts designed for dancing it all out.

Take it straight, mix it up or down: ‘Idiosynkrasia’ is cinematic in form and orchestral in structure, each track is marked with Tim’s unique sonic signature and careful attention to instrumentation.

Inhale the spirited and lively flow; exhale and surrender into epiphanic moments: this is an album which will catalyse deep breaths, reflection and a different way of thinking.

Our third release of the decade comes from another new signee, Barcelona-based Kodama, who teams up with Dubstep OG LX One for the heavyweight A side.

Cronauer
Uplifting bells and pad harmonies pave the way to a gritty bass assault, striking with the power of a meteorite coming from outer space. Cronauer unfolds as these contrasting yet complementing parts engage and interwine, driven by heavily-swung hard-hitting drums which turn the track into a club weapon.

Piranha Plant
Time to turn page and enter the next chapter: Piranha Plant is a sublime oneiric journey of lush harps and heavenly bells, joining into masterfully composed layers of melodic bliss and. New sections keep introducing instruments like new characters in this dreamy fairytale.

Dorsia
A brisk intro catapults us straights into Dorsia, a high-energy introspective roller which joins two sides of Kodama's multifaceted output. Melancholic melodies dance over a powerful bass & drum synergy, until the second drop comes in with stomping weight, beautifully delivering our fix of bass-Nirvana.

In January 1967, a 24-year old Aretha Franklin signed to Atlantic Records and began one of the most legendary runs in music history, releasing five U.S. hit singles in that year alone. Rhino celebrates the 50th anniversary of Franklin's historic signing with an opportunity to hear her classic Atlantic masters like never before.

A BRAND NEW ME: ARETHA FRANKLIN WITH THE ROYAL PHILHARMONIC ORCHESTRA pairs classic vocals from some of the most iconic songs that the Queen of Soul recorded for Atlantic Records with new arrangements performed by The Royal Philharmonic Orchestra, recorded the music at Abbey Road Studios in London, with brand new backing vocals led by Grammy®-winning singer Patti Austin.

The result is another timeless record that retains the soul, groove, and gospel power of Franklin's revered talent. Among the standout tracks are newly re-imagined versions of classics like the Billboard #1 R&B hits Respect,' Think,' Don't Play That Song (You Lied),' and Angel.'

The album was produced by Nick Patrick and Don Reedman, the masterminds behind the massive worldwide success of If I Can Dream: Elvis Presley With The Royal Philharmonic Orchestra, which recently topped the charts in multiple countries and has sold more than 1.5 million copies.

"Secretsundaze continue their quest to uncover amazing new music with the signing of exciting young Dominican artist Boundary. At just 19 years old Boundary aka Josue Suero makes music that is brimming full of ideas and influences that belie his young age. The 'Interlazados' EP is his debut release for a UK label.

Taking cues from his fascination with video game music, his first real gateway to electronic music, the four track EP showcases Boundary's melodic sensibilities and ear for a killer rhythm.ALead track 'Opticamente Avanzando' unwinds over 12 minutes of deep, mesmeric melodic, contemplative electronica with hints of 90's UK rave influences.ACheck the grins when the killer bassline drops half way through!A

The glossy melodies, jazzy motifs and hip-tugging bass of 'OP.AV' and the breakbeat house of 'Interlazados' channel more lo-fi, ambient house influences but all sent through that unique Boundary filter. Finally, the brain-warming, hypnagogic, tempo-changing rhythms of 'Planos de Ausencia Casualidad' could be the EP highlight and recalls the work of Lone and Actress.

You could listen to these tracks and be mistaken for thinking this is an artist who has maybe been lost in the throws of extended Villalobos DJ set or the deep pads of old Sun Electric records, but as an artist who is an outsider to the European dance scene, his inspiration comes from closer to home, as Boundary explains:

"For this EP I was interested to see if i could hit close to the feelings i have when I listen to certain video game music, how I could convey the amazing and deep storytelling in these songs. I really wanted them to feel like a ride/adventure. 'Opticamente Avanzando' ('Optically Advancing' in English) for me is like a venture into a machine that analyses a bunch of electronic music genres and it outputs as many different variations of these genres it can, each with their own little quirk/details, creating something unique in the process."

With previous releases on LA based label, Point Records, and Paris' Third Try label (Axel Boman, SFV Acid) Boundary's emergence represents a promising prospect for the electronic music world and 'Interlazados' another essential release on Secretsundaze."

LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486) 

B•O•M is the fifth album by freak electronic producer NCHX (NOCHEXXX). A percussive planet of acid-techno, UK bass, house and electro-phonk, hosed down with a chemical wash of post-dubstep and UK bleep contaminants.

Departing with a tube station screech, HUNTING HIDES signals a lone defender’s ride through the underground - trace amounts of musique concrete dart around the tunnel walls, while sub-low cushions the rumble. ENTERCOL is perfect 3am mix fodder; saturation hot-points push beneath a middle eastern theme, whilst SEVENTH GUN TERRITORY is pure rapid-fire bongo bizness - a concrete terrain punctuated with corrugated metal grids and moving shadows: distorted poly-metered brutalism! CYBERTUSH is the perfect OST to a club littered with vape pens, while B-Boi bots flirt with promiscuous A.I.

Arguably the most fierce cut is TEFLONTUAN - an ode to NCHX’s favourite pro Antuan Dixon - the Deathwish skater lands bolts with the illest of steeze. Side-chained 303 squelch rattles alongside x0x sequenced drums as wavetable pads float above kinked rails. A nights gallop over city curbs. The LP signs off with LOCATION SCOUT, a SpaceX sample-return mission heading back to earth with a fistful of deep house red planet crumble.

“A dance floor’s dream and a mixing engineer’s nightmare” - Resident Advisor

Grammy/Acadamy award winning producer/songwriter releases his debut album on Columbia Records. A 15 track album available on double vinyl and standard CD. Includes the brilliant new single "Space Inc" which has been 'Tune Of The Week' on Radio 1. Additional radio support across R2, Radio X, 1Xtra, 6Music, ILR network. Collaborators include Ishmael, Jay Electronica, Ty Dolla $ign, Vince Staples, Lianne La Havas, Kool Keith, Dave Bailey (Glass Animals). Renowned hip hop producer Mike Dean (Kanye West, Travis Scott, Nas, Jay Z) helpsd with mixing/mastering. Ads, features, interviews and reviews across all press. Online/social media activity. Poster campaign.

Rocksteady and Reggae have long been a part of the rare soul scene, since its inception in the early Sixties. It’s easy to hear the influence of early American R&B in the development of ‘Ska’ and as ‘Soul’ music took over as “the sound of young America”, in the mid-Sixties, it too tinged the sound of Jamaica. No more so than our dance floor anthem “I Feel So Bad” by the legendary JACKIE EDWARDS.
Edwards was born Wilfred Gerald Edwards in Jamaica in 1938 and by the age of 22 had already scored a No.1 record on the island. He’d had four chart-topping hits before signing to Chris Blackwell’s new ‘Island’ imprint in 1962. He became an integral part of Island Records, as a prolific artist, songwriter, producer and general helper. He wrote “Keep On Running” and “Somebody Help Me” for the British R&B band The Spencer Davis Group, both of which went to No.1 on the U.K. pop charts.
“I Feel So Bad” was released on the distinctive ‘red and white’ Island logo in 1967 and was adopted by the burgeoning U.K. underground soul scene, most notably at the Twisted Wheel club in Manchester. It has been played on the ever evolving Northern Soul scene ever since and, a half-century on, commands a price tag of £700+ for a mint original. Fortunately our devastingly good-looking “official” reissue can be bought for a more modest sum.
Jackie Edwards is also responsible for our flip-side “Baby Don’t Wake Me” which he wrote and produced for reggae singer DEL DAVIS at the turn of the Seventies. The combination of Jackie’s well-honed soul-induced musicianship and Davis’ gravelly soulful vocals create the perfect Northern/Crossover dancer.
Two fabulous reasons to make this one of the top reissue 45s of 2020!

'Chronos' is the debut album of Berlin-based trio AUSKLANG. Presenting a perfect blend of ambient and post-rock music, Chronos traces all the veins of rock, from a grandiose ensemble sound of a cinematic soundtrack to the delicate natures of ambient soundscapes. Each song has its own pulse and signature, giving a new feeling each time.

It is a pleasure to announce the first artist ep of one of ://about blank's closest friends and faithful companions-ANJA ZAUBE.
By developing a dark and hypnotic atmosphere, her DJ sets always are characterized by an intense and excessive arc of tension and her very own, unique signature.
Such is also the case for her productions; the magnificent HEADLESS HORSEMAN remix represents a perfect complement.

We are more than happy to present this release and will hopefully, one day, celebrate it together on our very own MDF and other dance floors on this planet.
The future is unwritten.

Good Vids, Vile Times is the second album by Ant Antic. Its central themes are the never-ending flood of information and its effects on us. The Berlin-based singer and producer Tobias Koett wraps serious questions into radiant pop songs. What does constant bombardment of information do to us? What's lost along the way?

On his new album, Ant Antic observes the emotional power of media and information. The helplessness we feel in the face of predominantly bad news and the growing inability to take pleasure in good news. The way an overload of junk information leaves no mental capacity for real social connections. As a child of the first globally connected generation, he witnesses geographical boundaries dissolve and people consider humanity as one. At the same time, everyone seems to struggle to come to terms with a reality overflowing with possibilities. Slowly, we collectively turn into superficial nihilists.

"When I wrote my first album Wealth I looked inward to examine my own emotions, asking myself "How do I really feel?". For Good Vids, Vile Times I was focusing less on the how and more on the question of why. "Why do I feel that way?"", Tobias explains the creative writing process behind his second album as Ant Antic.

"I'm a bag of hot air / Push me up density / Feel like a millionaire / Don't bring me down gravity", he admits on the single Yellow Press. Referencing the album's cover artwork by Austrian photographer Erli Grünzweil, Tobias describes how it feels to advertise his own life to other people - when behind the meticulously crafted presentation, there's sometimes nothing left but emptiness and anxiety.

Good Vids, Vile Times is an album rich in variety, ranging from indie-pop to contemporary R&B. In stark contrast to the somber tone of the lyrics, the songs radiate a cheerful liveliness. Fueled by analog synthesizers and an electric guitar often not discernible as such, the record builds on Ant Antic's signature sound. It's all Tobias on Good Vids, Vile Times - writing songs, recording vocals, guitars and synths, all the way to production and mixing. Essential elements and ideas are put into focus by getting rid of everything else. At the same time, the new album sees singer and producer Tobias openly flirting with pop, exploring new sounds and aesthetics, and maturing musically and lyrically. No song is alike, each one tells an honest and relatable story - all held together by the magic glue that is Tobias' distinctive voice, which might stay with you forever.

No Tengas Miedo' es un disco que se gestó durante los recientes tiempos de pandemia y que nos hace recordar que no debemos de tener miedo de vivir ni de morir, que tenemos que replantear las formas de vida que teníamos antes de que todo el mundo se detuviera pero que sigue siendo un privilegio seguir vivos. Creemos que esta es
una nueva oportunidad de remediar todos los daños que le hemos hecho a la Madre Tierra, a nuestro cuerpo, a nuestra alma, a nuestros semejantes. Creemos que debemos de tener fe y esperanza en el humano, aún cuando nuestros gobernantes nos dan demasiados motivos para creer lo contrario gracias a sus acciones (y sus inacciones). Todos enfrentamos diferentes obstáculos en nuestras vidas, pero debemos de saber que no estamos solos, que nos tenemos los unos a los otros, todos como hermanos y hermanas, sin banderas ni fronteras. Muchas veces pensé en no realizar este disco por el miedo que la sociedad y gobiernos nos inculcan a siempre esperar los peores escenarios, pero estoy harto de vivir con miedo, de vivir aguantándome las ganas de averiguar lo que puede ser o no ser. Además, desde que yo recuerdo, mis abuelos ya hablaba de crisis, mis padres también, y siempre hemos sabido salir adelante, porque nuestro espirítu es más fuerte que todos sus intentos por derribarnos. He decidido que no voy a parar de luchar por lo que quiero hasta el último día de mi vida. Queremos que todo aquel que compre este disco sienta el mismo espíritu con el que fue hecho y quenos ayude a esparcir la esperanza y fe que tanta falta le hace al mundo. Queremos salir adelante junto con todos ustedes, hombro a hombro, corazón con corazón.

Neotnas feat. Philosopher is a new collab of electronic music producers from Russia (Chelyabinsk and Moscow accordingly). As the environment of the cities mentioned as well as social milieu vary significantly a profound personal reflection of the artists results in a very specific outlook sculpted by both history and presence of Russia – a surprisingly nice stuff inspired mainly by jazz, ambient and trip-hop. Four new tracks give a deep insight into the way the artists feel the groove and associate it within a dancefloor culture regarding its roots and worldwide influence. Two of them (Jazz Engine and You're Mine) – are 124 BPM house party cuts place all the emphasis on intensively syncopated TR-808 hi-hats layered with properly selected percussive jazz elements and flavored with brass licks and reverbed chords, catchy vox and driving by a grit kick and pumping low bass patterns. Another one (Spirits Of A Dawn) cautiously takes a listener to a personal journey to the edge of an imaginary big city, leaving its downtown, and moving out of the night shade slowly, coming near a sleepy morning glimmering focusing on a light sparks of a new day. The last but not the least track (Traffic Love) is a dense powerful banger galvanizes trip-hop beats and house chords with a lush and mystic 90`s female vocal all together aimed to stir up a crowd on a dancefloor and make them wet and happy. This release – fresh and diverse – will definitely hits it off with a large audience and joins a marketplace properly.